February 16, 19 2 2
MUSICAL COURIER
50
possible. Tliis also tends to take the edge off the audience’s co-ordinate spontaneity.”
Perhaps this striving toward the ideal recital program has partly been solved by an operatic and concert artist of international repute who is now concertizing with great success in America. This singer uses a printed book of words containing many of the arias and songs of his repertory, but no printed program. Instead, before each number he announces the selection he is going to sing, which still gives those in the audience who do not understand the foreign text time to consult their book of words. Thus the artist in question achieves a certain degree of spontaneity at his concerts that goes a long way toward removing the stilted, set interpretation of many another recitalist’s “overrehearsed” and “not-in-the-mood-for,” fixed program, and in a way refutes Mr. Althouse’s argument for the ideal recital program.	P.
TEICHMULLER ANNIVERSARY
CELEBRATED IN LEIPSIC
Fund Established to Help Needy Students—Rosen Scores Success
Leipsic, January 10, 1922.—The outstanding event in our musical life at the beginning of the year was an anniversary. Twenty-five years have passed since Prof. Robert Teichmüller, piano teacher, joined the faculty of the Leipsic Conservatory. In keeping with this artist’s serious life, devoted entirely to the art ■ of teaching, Leipsic refrained from a noisy, boisterous jubilee. As a worthy anniversary celebration Teichmiiller’s pupils have founded a special fund, entitled the “Teichmüller Stipendium,” which is to be used for the support of needy pupils. We hope that the numerous Teichmüller pupils who are abroad will participate in this action. Until now 35,000 marks have been collected.
Max Rosen Plays Brahms.
A striking, artistic event was a great charity concert in the Albert Hall for the benefit of the “Hilfsbund für Deutsche Musikpflege.” The concert, comprising Beethoven and Brahms, was conducted by Hermann Scherchen. Max Rosen, the American violinist, was the soloist and thus introduced himself most favorably to the Leipsic public. His playing of the Brahms concerto showed that he possesses a highly developed technic and a sincere and positively entrancing, warm violin tone. His interpretive powers, which withstood a difficult task, are bound to gain as he grows older by increasing spiritual depth. He earned tremendous applause and was recalled many times.
The Schachtebeck Quartet.
In the field of chamber music a local ensemble, the “Schachtebeck Quartet,” has recently risen to a real significance. At its last evening it played Schönberg’s “Verklärte Nacht” with an approach to absolute perfection. The audience showed enthusiasm both for the work and the performance.	Dr. Adolph Aber.
Konecny Has Personal Representative
Harold Manning, who is the personal, representative for Josef Konecny, reports numerous bookings for the Bohemian violinist and his concert company, a partial list of which is as follows: January 30, McPherson; 31, Abilene; February 1, Concordia: 2, Belleville, Kans. On February 6 he will be heard in Ellsworth; 7, Sterling; 8, Kingman; 10, Pratt; 13, Yates Center; 14, Girard; 16, Osage City; 17, Great Bend; 20, Stafford; 21, Kingsley; 22, Dodge City (all in Kansas) ; 23, Lamar; 27, La Animas; 28, La Junta, and March 2, Rocky Ford (all in Colorado).
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Who Zoltán Kodaly Is
The new correspondent of the Musical Courier at Budapest, Zoltán Kodaly, who, as substitute for Bela Bartók, has already contributed several letters to this paper, is recognized as one of the leaders of the younger generation of composers in Hungary, and has long been the friend and coworker of Bela Bartók in collecting and editing the folk song treasures of Hungary, Roumania and Transylvania.
He was born in 1882 in Kesskemet, the son of a railroad official, and grew up in the ancient Hungarian town of Nagyszombat which, by virtue of the Peace of Trianon, now belongs to Czecho-Siovakia. Here he learned to know music by study in the cathedral choir and by association with amateur chamber musicians. At eighteen he entered the University of Budapest to study languages and literature, but at the same time took the composition course at the Academy of Music. His graduating thesis at the university
ZOLTÁN KODALY,
new correspondent of the Musical Courier in Budapest.
was a study on strophic construction in Hungarian folk .song (1906).
He had determined to become a composer, even before his university course, and his teacher, Koessler, declared him to be “technically mature” in 1903. He, himself, did not consider any of his products worthy of being an “op. 1” until he reached a series of songs composed 1907-8. His first great influences were Wagner and Brahms, especially the latter, whose diatonic melodies were often drawn from the Hungarian folk song which Kodaly began in 1905 to trace to its very source. He and Bartók traveled for years to the remotest villages and gathered together literally thousands of tunes and texts, the publication of which has been interrupted and indefinitely postponed by the war.
Under the influence of the study of national music, Kodaly’s own style developed in distinctly racial channels, and was further developed by contact with modern musicians in Berlin and especially in Paris. To a deeper understanding of Mozart, however, whom he reached via Wagner and Strauss, Kodaly ascribes his final development.
Since 1907 Kodaly has been active as a teacher in the Royal Academy of Music in Budapest. A concert of his compositions in 1910 was successful enough to result in the publication of a string quartet (op. 2) and piano pieces (op. 3). The first was produced at the Tonkünstlerfest in Zürich, 1910, and later by the Kneisel Quartet in America. The second aroused such protest that for the next ten years not another note was printed.
A cello sonata, op. 4, was successfully performed in London, Paris and Zürich. More recently there have been published a sonata for cello alone, op. 8; a second string quartet, op. 10; piano pieces, op. 11; serenade for two violins and viola, op. 12; two orchestral songs, op. 5; a duo for violin and cello, op. 17; and songs, op. 6 and 9. Together with Bartók he published 150 selected folk melodies from Transylvania, and alone a volume of “Hungarian Laments.”
C.S.
Althouse Defines Ideal Recital Program
“The trouble with many recitalists’ programs is that the artists have gone over their selections so many times with a coach and accompanist that there is absolutely no spontaneity to their singing when the hour of their appearance arrives,” recently declared Paul Althouse, well known tenor of the Metropolitan Opera Company, who of late years has been devoting his time to appearances in concerts, recitals and oratorios from coast to coast, and who, by his varied experience and many engagements each season, is in a position to know.
“Now, one of my ideas for the ideal recital program would be to have the artist appear on the concert platform and when the first inspiriting welcome of applause had died down, to sing from his repertory what his feeling of the moment suggested. In this way a singer could preserve the spontaneity of his interpretations much better and not have to sing a heroic aria when his mood dictated that lyrical German lieder were the selections for which he had the feeling of the moment.
“Of course there are those who would immediately raise objections to this procedure for several reasons, one of which is the fact that some auditors like to consult their programs and book of words diligently beforehand, note the biography, date of birth, etc., of the composer, the English text of the song, and other details, so that there is as little ‘surprise’ left in the singer’s interpretations as
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